Saturday, January 24, 2009

I've made more progress on "The-Rail-Game-Formerly-Known-As-Rails-Across-America". The biggest problem I've had with it lately is just that it seems uninspired overall, and perhaps doesn't offer enough interesting or difficult choices to the players. Recently a friend made an encouraging comment, and that gave me some new ideas, and the latest iteration is looking better. It's still a live design.

But it set me to thinking. How interesting, and how difficult, do the choices have to be in order to have a fun and playable game? I tried a wargame design once; it was judged by the KublaCon playtesters to be boring because the decisions were obvious and easy to make. I don't want to repeat that mistake. On the other hand, while it's good to have ambitious goals, as a fledgling designer I can't expect to design the next #1 game at BoardGameGeek. So how good is "good enough"?

For an answer I am looking at my own favorites among the published rail games. These are:

* Ticket to Ride* The crayon rail games (Empire Builder and its sequels)* Railroad Tycoon* Age of Steam* The 18XX games* Silverton

What kind of game experience do these successful games offer?

Ticket to Ride has simple rules and simple play, and is over in an hour. At times you spend move after move simply drafting cards into your hand. Your decisions are mostly of the push-your-luck variety: should you grab that route now, before someone else does? Or wait until you can grab several connected routes in quick succession, so as not to tip your hand too soon? The fun comes mainly from the tension of that basic decision. And it is fun, without a doubt. The Ticket to Ride series is far and away the most commercially-successful rail game ever. So we learn this: Tension lends interest and excitement.

Empire Builder and its sequels are straight-forward games of building track and making deliveries. These are flawed games, in my opinion. They take too long to play, especially if you make the mistake of playing with more than four players. There is little player interaction: you don't have to worry very much about what your opponents are doing. And the decisions are simple: which of my nine potential deliveries is the best to do next? Where should I built my next track? Is it time to upgrade my locomotive? The answers are usually fairly obvious, once you've done the gruntwork of figuring out sources and destinations for your potential deliveries (which usually is a lot of work: another flaw). And yet the crayon rail games are fun anyway, popular enough to have spawned a dozen or so sequels, and due to be re-issued this year by Mayfair. Lesson learned: A game can be fun even if its choices are not difficult. Sometimes the activity itself is entertainment enough.

Age of Steam is an amazingly good game, at least if you enjoy high levels of competition. Often described as "a knife fight in a phone booth", AoS crowds players together and forces them to compete viciously for routes and deliveries. A tight economic system makes budgeting a challenging and crucial exercise, and an auction system that controls both player order and access to important actions adds tremendous tension. Lesson learned: Holzgrafe, you will never design a rail game this good! More seriously: budgeting and pacing issues add interest to a game, and player interaction is important.

Railroad Tycoon is my favorite. This game has the same basic notion as Empire Builder (build rail, then make deliveries) but avoids the flaws in the crayon rail system. Spotting viable deliveries is easy and quick; the choices are interesting and difficult; and the game does not outlast its fun factor, even with six players. It has excellent player interaction, because players must compete for track routes, deliveries, and bonuses. It's really more appropriate to compare RRT with Age of Steam because it is directly derived from AoS. RRT is less competitive than AoS. But if Age of Steam is "a knife fight in a phone booth", Railroad Tycoon is still at least a barroom brawl: more spacious and forgiving of errors, but still highly contentious and with plenty of chairs and tables to swing. Lesson learned, from both AoS and RRT: Competition for scarce resources makes for tough, interesting choices.

The 18XX series adds a new element: a stock market. In an 18XX game players build rail and make deliveries. Players compete mainly to acquire stock, drive up the value of companies in which they are heavily invested, and sell high-valued stock to reap the gains and ruin the stock's value for others who still own shares. 18XX games are complex, long, and deeply strategic. I have played only once and I'm not competent to discuss them in detail, but there is a lesson learned: A volatile, interactive market adds a whole new level of interest to a game.

Silverton is the rail game that has most recently grabbed my attention, although it's now over 15 years old. Silverton features a volatile market, but it is a goods market rather than a stock market. Players compete not only to lay track, but to claim mines. Mines are worked to produce goods, which you then convert to money by delivering to market cities. Market prices vary, partly at random and partly influenced by recent sales. Taking a big load to market can drop market prices ruinously for anyone who shows up late. Silverton combines a fairly standard build-and-deliver mechanism with features such as the market, the high-risk nature of mining, and the difficulties of winter operations in the Rockies, resulting in a fascinating game with good levels of player interaction. Lesson learned: Volatility forces pacing, making players choose between urgent actions and important actions.

So what does this all imply for my own design? I'm still evaluating that, but I'm encouraged. My latest rules revision (with the compelling sobriquet of "Straw Man 6") adds complexity in a way that improves player interaction and gives players more to worry about. I think the game is now at least as interesting as a crayon rail game, because it has more interaction, more complex decisions to make, and more tension. But maybe not—maybe the decisions, for all their complexity, still have obvious solutions. I need to work with it some more to find out whether that's true.

And then there's this whole business about volatility. There isn't much, in the current design. I need to think about adding some, and I have a few ideas to play with. I'll keep y'all posted, and I may even post the latest rules sometime soon.

Monday, January 12, 2009

A couple of friends recently asked if I'm playing much music lately, and why haven't I been talking about fencing?

I haven't been talking about fencing because I haven't been doing any. About a year and a half ago I pulled something in my right forearm—I didn't notice the moment when it happened, but I'd been fencing a couple of guys who liked to use a lot of muscle. You hold a fencing foil mostly with your thumb and forefinger, like a scalpel, but there's a limit to how much power you can put into a grip like that. I was using a french grip, which offers little purchase to the other fingers. One opponent was using a pistol grip, allowing greater strength; and the other was just holding his foil like a hammer. (He wasn't very good, just strong.) So something in my forearm, back near the elbow where the long stringy stuff is anchored, gave way. I've waited all this time for it to heal up, and it hasn't, not all the way. In November it was getting worse again, and I had to stop fencing. I'm now convinced that it won't heal on its own, so tomorrow I'll see my doctor and start the process of figuring out what's really wrong and how to fix it.

Oh, and I took two lessons away from that experience. The first: don't fight strength with strength. I shouldn't have been resisting all that muscle with my own. Instead I should make better use of leverage; resist only briefly and then release suddenly, so the opposing blade suddenly "flies away"; and on offense, try to avoid blade contact altogether. And the second: get a pistol grip.

As for music: no, I haven't been playing much. A while back I realized that my non-music schedule had become too unpredictable for regular gigs and rehearsals: too many sudden needs to stay late at work, or be at home for one reason or another. Needing to be in two or three places at once was causing a lot of stress, so I reluctantly resigned from my jazz band.

But I still play with them on special occasions, and sometimes "sub" with other bands. Yesterday was a very good day: I played with Ted Shafer's Jelly Roll Jazz Band. This is a two-cornet band in the tradition of King Oliver and Lu Watters. The band does not play a regular gig and does not really have standard personnel, but Ted has a short list of people to call when a gig is scheduled. They're all good, and some of them are really good. Yesterday they were all really good.

Fronting the band was Leon Oakley, an incredible cornetist who recorded with Turk Murphy, the South Frisco Jazz Band, and any number of other great bands. For my money Leon is the best living trad cornetist. He plays with tremendous power and vitality. I've played with Leon before, and it's always a challenge trying to keep up with him; I haven't always been proud of the results. But yesterday the stars all aligned, and the band put out a powerhouse performance, and I didn't do too badly myself. I was proud to have been part of the group, and immensely relieved that I didn't embarrass myself in the process. I received a number of compliments, from audience and band members both, about the two-cornet work. That was good to hear, because I was trying my best to blend well with Leon.

At the end of the day Ted was talking about getting the band, with exactly the same personnel, into a recording studio to cut an album. Talk's cheap and scheduling is difficult so I'm not holding my breath—but I hope it happens. I'd treasure a disc like that.

Our tuba player, Jim O'Briant, had recording equipment rolling during yesterday's session. He was worried that it might have been in vain, but I'm hoping it wasn't. That's another recording I'd love to have, even though the sound quality wouldn't be very good—you can only do so much with non-professional equipment in an echoing meeting hall. But I'm used to that sort of thing, and I'd dearly love to hear our performance. I was working so hard I missed a lot of it!

Le Havre — Only played this once so far; we're looking forward to more plays. Lots of unique cards to become familiar with.

Stone Age — A straight-forward worker-placement game that's proved to be a lot of fun. Recommended as a mid-weight Euro.

TransAmerica — We liked TransEuropa when Helen's Mom brought it, so we got this for ourselves. Includes the "Vexation" expansion.

Galaxy Trucker — Looking forward to trying this, but having a little trouble with components.

Dominion — Everybody raves about this; I hope it lives up to the hype. (Do we really need 500 card sleeves for this game!?)*

Fresh Fish — A strange and interesting game about managing negative space.

Silverton — A heavy-duty, long-running rail game suitable for one (!) to six players. I'm eager to try this one.

* Postscript: It's now 11:30 pm. Yes, we did need 500 sleeves. I have just finished sleeving them all. I also spent a couple of hours this afternoon putting 200+ stickers onto little plastic poker chips for Silverton. Not as bad as the ~700 stickers for Commands and Colors: Ancients, but bad enough. Never let it be said that I won't suffer for my hobbies.

Solitaire Till Dawn

Boardgame Design Status

Mar 3 2016 - Villages of Valeria (formerly DeckVille) has just finished an amazingly successful Kickstarter campaign, and will be published by Daily Magic Games. Expect it on store shelves in Winter 2016!

About Me

I'm a semi-retired software engineer, living in the Portland area in Oregon. From time to time I perform with traditional jazz bands locally and around the state, and you can often find me at Games Days and boardgame conventions, in Oregon and in my old home state of California.